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315264 Los(e)/Seite
Los 524
COLOURED LIMITED EDITION PRINT, PENCIL SIGNED & NUMBERED 12/850, ''THE MORGAN SPORTS CAR FACTORY'', WITH SIGNATURES OF ALL THE WORKFORCE ON THE MOUNT. CERTIFICATE OF AUTHENTICITY AND FURTHER DETAILS ON THE REVERSE. 22'' x 36''. TOGETHER WITH A COLOUR PRINT OF A MORGAN SPORTS CAR IN A LANDSCAPE PUBLISHED BY THE MORGAN SPORTS CAR COMPANY LTD [2]
Los 268
A Grayson Perry exhibition poster for the "Julie Cope's Grand Tour - The Story Of A Life" exhibition held at the Dovecot Gallery, Edinburgh, 25 July - 2 November 2019, 60cm x 42cm, with a Tracey Emin "I Am The Last Of My Kind" print produced for the Royal Academy of Arts exhibition "Tracey Emin / Edvard Munch: Loneliness of the Soul", 80cm x 60cm, and an Henri Matisse poster, 79cm x 52.5cm, all unframed (3)
Los 320
After Nicolas Trudgian (British, b.1959)"Breaching the Dam",Limited edition print on paper numbered "115/500",Signed to lower margin by the artist and four Lancaster bomber pilots including Edward C Johnson and Douglas Webb,46.5cm x 74cm,Framed and glazed,With a limited edition Battle Of Britain Memorial Flight print after Timothy O'Brien, numbered "521/1945" and signed by the pilots and the artist, 31.5cm x 42.5, framed and glazed, and a limited edition Napoleonic War print after David Cartwright depicting Trafalgar and Waterloo, signed and numbered "317/950", 44cm x 64cm, framed and glazed (3)
Los 576
"THE AGE OF INVENTION", a Victorian card game, 19th century, comprising twenty printed cards, each illustrated with a comic vignette, to a slip case with applied illustrated title label, published by D. Carvalho, London, together with a Victorian bridge set comprising two decks of playing cards, the jacks illustrated as servants, the queens as a young Queen Victoria and the kings as a young Prince Albert, both sets complete but unboxed, a further Victorian card game comprising sixteen sets of four caricature cards, an unopened sealed pack of Charles Goodall & Son playing cards, a 19th century mug decorated with playing cards, and two Victorian crest albums (7) CONDITION REPORT:The Age Of Invention: Slip case worn and bumped to corners. Cover print worn and somewhat grubby. Cards bumped to corners and marked from use, some with the odd small stain or fox mark.Mug: Shows four descending hairline cracks to the rim, the longest 2cm. The body shows rubbing to the gilt highlights and wear to the printed card design. No maker's marks.
Los 64
Dia Azzawi (Iraq, born 1939)The Seven Golden Odes (The Mu'allaqat) silkscreen print in eight parts in original folio and caseeach print signed 'Dia Azzawi', titled and dated '1978' in Arabic, each print numbered 43/60, executed in 1978Each print: 103 x 72 cm (8)Footnotes:Provenance:Property from the collection of Alecto Editions1. Introduction2. Mu'allaqat Imru Al Qayess3. Mu'allaqat Lubid Ibn Rabia4. Mu'allaqat Tarafa Ibn Al Abd5. Zuhair Bin Abi Sulma6. Mu'allaqat Antarra Ibn Shaddad7. Mu'allaqat Amr Ibn Kalthoum8. Mu'allaqat Al Hareth ben Halza'Oh you long night! Will you not yield to the dawn?Though daylight, like the night.. bears its share of worriesWhat an interminable night you are! As if the stars were bound to the mountains by the tightest of chords... or as though the Pleiades were hung, unmoving in their place by ropes tied to solid rock'- Muallaqat IA HIGHLY SOUGHT AFTER AND INTACT FULL SET OF DIA AZZAWI'S MU'ALLAQATSpectacularly detailed, rich and intricately worked, Bonhams presents a rare, intact and unopened full set of Dia Azzawi's famed Muallaqat prints; a homage to a group of seven long Arabic poems that are considered some of the defining literary works of the pre-Islamic era. The name means The Suspended Odes or The Hanging Poems, the traditional explanation being that these poems were hung on or in the Ka'ba at Mecca. The name Mu'allaqāt has also been explained figuratively, as if the poems 'hang' in the reader's mind.The Hanging OdesIn the eighth century, Hammad al-Rawiya—Iraq's last reciter of tribal poetry—compiled these timeless Hanging Odes. Hammad al-Rawiya, last of the true rawis or reciters of tribal poetry, was renowned among the newly urbanized Arabs of Damascus and Baghdad for declaiming poems he had heard recited by the Bedouin of the Arabian heartland. In the latter half of the eighth century he put together a collection of seven remarkable poems known collectively as the Mu'allaqat, or Hanging Odes.The Hanging Odes have always been shrouded in mystery. Legend tells that in the sixth century, some years before the rise of Islam, the poems were transcribed in letters of gold on the finest Egyptian linen and suspended from the Ka'ba in Mecca as trophies during the Sacred Months of Peace, when the Bedouin laid down their arms and went on their annual pilgrimage to the fairgrounds of 'Ukaz, near Mecca. Rival clans mingled in the marketplace, and, when not feasting or buying and selling wares, gathered round as the rawis swayed and pitched their lines to the rapt audience.The image of pagan poetry hung from the holy shrine of the Ka'ba serves to bind the ancient world of desert lore to Islam, and the poets themselves — Imru al-Qays ('the Vagabond Prince'), Tarafa ('the One the Gods Loved'), Zuhair ('the Moralist'), Labid ('the Man with the Crooked Staff'), Antara ('the Black Knight'), Amr Ibn Kulthum ('the Regicide'), and Harith ('the Leper') — have passed into legend, each lapped in a vast oral tradition.The Mu'allaqat are the most famous — and among the earliest — examples of the qasida (commonly translated as 'ode'), a form that frequently runs to some hundred and twenty lines. The term may derive from the root qasada, meaning 'to aim' or 'go forward,' or else from qasar, 'to break,' in reference to the mandatory division of the line into two rhythmically equal halves — a binary thrust and parry not unlike the alliterative line in Anglo-Saxon verse.The seven Mu'allaqat, and also the poems appended to them cover a vast array of topics. Tarafa's long, for example, anatomically exact description of his camel was a charming representation of the importance of this domesticated beast in the daily life of the Bedouins. In the Mu'allaqat of 'Amr and Harith we can read the haughty spirit of the powerful chieftains, boastfully celebrating the splendors of their tribe. The other poems are fairly typical examples of the customary qasida, the long poem of ancient Arabia, and bring before us the various phases of Bedouin life. In the Mu'allaqat of 'Antara, whose heroic temperament had overcome the scorn with which the son of a black slave-mother was regarded by the Bedouins.Azzawi's illustrated depiction of the Muallaqat is one of the most vibrant and richly composed examples of the artist's fascination with Iraq and the Arab world's pre-Islamic history and its influence on contemporary visual culture.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 73
Samir Sayegh (Lebanon, born 1945)Hub (Love) pigmented giclee print on hahnemuhle canvas signed 'Samir Sayegh' in Arabic on the verso, executed circa 2020100 x 166cm (39 3/8 x 65 3/8in).Footnotes:Provenance:Property from a private collection, LebanonThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 74
Samir Sayegh (Lebanon, born 1945)Baraka pigmented giclee print on hahnemuhle canvas signed 'Samir Sayegh' on the verso137 x 100cm (53 15/16 x 39 3/8in).Footnotes:Provenance:Property from a private collection, LebanonThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 75
Hussein Madi (Lebanon, born 1938)Europa pigmented giclee print on hahnemuhle canvas signed 'Madi' and dated '2022' on the verso, executed in 2022100 x 126cm (39 3/8 x 49 5/8in).Footnotes:Provenance:Property from a private collection, LebanonThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 3012
Vladimir Tretchikoff (1913-2006): green tint colour lithograph, Balinese girl, 50 x 60 cm. Appears to be in its original frame, fram has some marks and wear to edges, otherwise solid. Print appears to be good throughout with no visible damages. Not available for in-house P&P, contact Paul O'Hea at Mailboxes on 01925 659133
Los 148
FRANÇOISE HUGUIER (France, 1942)."Jeune fille, pays lobi, Mali", 1996.Gelatin silver print.Edition 9/200.Signed and numbered in pencil.Size: 30,5 x 40,5 cm.Françoise Huguier debuted as a photographer for the first time in 1976, obtaining in 1983 the possibility to photograph the world of cinema, politics, culture and fashion working for Le Journal Libération, as well as working for magazines such as Vogue, The New York Times Magazine or Women's Wear Daily. At the same time, he began a personal work of photo-documentation, portraying scenes from Africa, Siberia and Japan. Her admiration for Africa led her to return on several occasions with the intention of photographing the intimacy of African women, resulting in a total of 200 black and white photographs and a first book entitled "On the Trail of Ghost Africa".Established in the world of fashion, she knows how to alternate with ease snapshot photography, mise-en-scène, portrait and landscape, thus obtaining an artistic career that has allowed her to obtain an eclectic work for more than forty years. His works initially acquired monochrome colours, showing a great scenographic and compositional delicacy, but it was in 1980 when his photographs acquired colour thanks to his dedication to fashion, in which the thicknesses, materials and compositions are richly highlighted.Her cosmopolitan universe, marked by photographic design and an unconventional documentary aesthetic, reflects her continuous commitment to photography, whether in reportage, fashion, portraits or cinema, knowing how to reflect her personal and original view.In addition to her career, she has been recognised for her involvement with Africa by creating the first Bamako Photography Biennial in Mali.
Los 18
MANOLO VALDÉS (Valencia, 1942)."Eva III", 1993.Etching and collage on paper. Copy 51/51.Signed and justified in pencil at the bottom.Measurements: 165 x 65,5 cm.In this engraving intervened by the artist, the figure of Eve is shown, inspired by the painting of the same title, painted in 1507 by Dürer, which belongs to the Museo del Prado Collection. Valdés rescues this figure from the Old Testament, bringing her body into the contemporary world, reducing it to an aesthetic language of synthetic and schematic forms that preserve the devotional and iconographic expression of the religious figure, who maintains her nimbus of sanctity and her modest posture. Valdés dispenses with the iconic apple and in its place introduces the image of a flower, which he arranges over the sex of the protagonist. This reference also alludes to the work of Dürer, who made numerous drawings inspired by flora and fauna, but the image of the flower also adds a conceptual and metaphorical reading to the piece, which in a veiled way conveys the idea of birth.Manolo Valdés introduced in Spain a form of artistic expression that combines political and social commitment with humour and irony. He began his training in 1957, when he entered the San Carlos School of Fine Arts in Valencia. However, two years later he abandoned his studies to devote himself fully to painting. In 1964 he founded the artistic group Equipo Crónica, together with Juan Antonio Toledo and Rafael Solbes, in which he remained until the latter's death in 1981, despite the fact that Toledo had left the group two years after its foundation. Since then he has settled in New York, where he currently lives and where he has continued to experiment with new forms of expression, including sculpture. Among the numerous awards Manolo Valdés has won are the Lissone and Biella awards in Milan (1965), the silver medal at the II International Biennial of Engravings in Tokyo (1979), the Bridgestone Art Museum prize in Lisbon (1979), the National Plastic Arts Prize (1983), the medal at the International Festival of Plastic Artists in Baghdad (1986), the Decoration of the Order of Andrés Bello in Venezuela (1993), the prize of the National Council of Monaco (1997), the Gold Medal for Merit in Fine Arts (1998), the Prize of the Spanish Association of Art Critics (2000) and the Prize for the Best Print Artist (2002), among others. With Equipo Crónica, Valdés used figuration as a vehicle of expression for his approaches, for his criticisms of art, society and politics, but prioritising above all other content the pure act of painting. From the thematic point of view, Valdés was inspired by the art of the great masters of painting: Goya, Velázquez, El Greco, Ribera and Zurbarán, and he never concealed his models, but rather emphasised them, even in the titles of his works. Formally, he produces a large-format work in which the lights and colours express tactile values, due to the treatment given to the materials. His work forces the observer to delve into memory and search for significant images from the history of art. Valdés is represented in some of the world's leading museums, such as the Reina Sofía in Madrid, the Metropolitan, the MoMA and the Guggenheim in New York, the Centre Georges Pompidou and the Fons National d'Arts Plastiques in Paris, the Kusnthalle in Hamburg, the Kunstmuseum in Berlin and the Museo de Bellas Artes in Bilbao, among many others.
Los 19
PABLO PICASSO (Malaga, 1881 - Mougins, France, 1973)."Pichet Têtes, 1956.White earthenware, decoration with oxidised paraffin, black and white enamel. Current print run of 500 copies.Work referenced in: Catalogue of the edited ceramic works 1947-1971, by Alain Ramié, Editions Madoura, 1988, illustrated under no.367, p.189.Presents stamp on the base Picasso edition. Madoura.Size: 13 x 14 cm (diameter).The artist produced a large production of ceramic works at the Madoura factory in Vallauris, in the south of France, from 1947 onwards, devoting himself to this technique until the end of 1948. He then returned to his usual activities as a painter, engraver and sculptor, combining them with ceramics until 1971.The creator of Cubism together with Braque, Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso held his first solo exhibition at the café "ElsQuatreGats". Paris was to become Pablo's great goal, and in 1900 he moved to the French capital for a short period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterised by the use of these colours and by their subject matter with sordid, isolated figures, with gestures of grief and suffering. The painting of these early years of the 20th century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practised collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso was the great revolutionary, and when all the painters were interested in Cubism, he was preoccupied with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with what had gone before, introducing into his work distorted figures with great force and not exempt from rage and fury. As with Goya, Picasso was also greatly influenced in his work by his personal and social situation. His often tumultuous relationships with women had a serious impact on his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colours and strange forms. Picasso is represented in the most important museums around the world, such as the Metropolitan, MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London and the Reina Sofia in Madrid.
Los 26
DENNIS HOPPER (United States, 1936-2010)"James Rosenquist, 1964Photography, iris print.Edition 22/250.Signed and numbered in pencil.Size: 42,5 x 58 cmDennis Hopper was recognised as a great multi-faceted artist, working as an actor, film director, director and photographer, making his name with the release of his film "Easy Rider" in 1969.Hopper's beginnings in the world of photography were due to his relationship with James Dean, who encouraged him to start out as a photographer despite the fact that he had no training. From then on, he was accompanied by a Nikon F camera with which he took thousands of photographs that left their mark due to their sensitive content and their compositional and photographic ability.This work as a photographer led him to hold several exhibitions that became the subject of retrospectives and catalogues. He was an intuitive photographer who captured the world of painting and abstract expressionism, reflecting textures, masses, volumes and the most abrupt details. All this in an almost documentary style, sometimes crude and close to abstraction. He was interested in the streets, billboards and shop windows, emphasising the backgrounds and reflections. It is worth mentioning his work in the world of Hollywood, where he captured portraits of actors such as Jane Fonda and David McCallun. Hopper's career was largely due to his work as an actor and filmmaker, but it is worth mentioning his role in the world of photography, in which he showed great taste, as well as a remarkable creative and visual capacity.
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315264 Los(e)/Seite